Kamayani Sharma

Though described in the show’s catalogue essay as a “departure” from his practice, the works on display in Alwar Balasubramaniam’s exhibition are fairly representative of his long-standing interest in exploring surfaces and negative space. He uses an eclectic range of media––fiberglass, cotton, terra-cotta, enamel, soil, wood, cement, acrylic, iron, oil, resin, graphite, aluminum, marble, and sandstone––to interpret the effects of the environment on human artistry.

The tension between the intentional and the organic is apparent in an untitled work from 2017, a large multicolored blot made using

The otherworldliness of Dileep Prakash’s black-and-white photographs of moonlit forests and bungalows is intensified by the way the works are generously spaced throughout this wide-walled gallery. In “Sleeping in the Forest,” his third exhibition in this venue, Prakash presents a series featuring British-era rest houses and the Himalayan jungles in which they were built. The prints (all Untitled, 2007–2016) loom large, their size befitting the architectural and arboreal solidity on display.

These bungalows made an impression on Prakash when he stayed in them as a child, and he has been photographing

In her first solo exhibition in New Delhi, “This, the Sublime and its Double,” Tanya Goel investigates surfaces through the language of abstraction. Goel’s practice is invested in exploring the deep histories of painterly technologies and melding them to a minimalist vocabulary based on mathematics.

Works such as carbon (x, y) (all works cited, 2017) and semitone on multiples, made of coal, mica, aluminum, and concrete, and resembling pixelated bitmaps, pronounce tensions between form and content that are at the heart of radical abstraction. Multiple squares bring to mind sleek computer windows,

Peering through the dark glass facade of this gallery, you’d be forgiven for thinking that it’s still under construction. Vibha Galhotra’s “[In]Sanity in the Age of Reason” brings the detritus of unsustainable urban development into the white cube. Galhotra’s practice has long concerned itself with the rapidly transforming ecologies of cities and rivers.

References to the artist Stanley Brouwn and climate-change expert Will Steffen are not merely theoretical here. A linoleum-based work titled Marks, 2016–17, which features footprints—as well as photos of people and vehicles leaving their

In his latest exhibition, “Ether is all that is,” G. R. Iranna examines the fragility of life through holy ash. His interest in using religious material to ruminate on existential questions was apparent in his recent contribution to the Kochi-Muziris Biennale, From Ash to Ash (all works cited, 2016), a giant egg of cinders that references the origin of the cosmos in classical Hindu philosophy. On view in this show are paintings and installations that feature the sacred residue of ancient fire-based rites, alluding to the cyclical inevitability of birth and death and the impermanence of matter,

Prabhavathi Meppayil’s second solo exhibition in New Delhi reflects her curiosity about spatial logics and her interest in using intensive and vernacular processes. A descendant of goldsmiths, Meppayil uses the tools and techniques of the craft to trouble the boundary between artist and artisan. Her stark white gesso panels in d sixty one, d sixty, d fifty seven, d sixty two, d fifty six, and d fifty eight (all 2016) almost blend into the walls––the incisions and embedded wires are revealed only as one nears the works. The lines of the delicate metal contrast sharply with the thick mass of

In “Regarding Embodiment,” Naiza Khan and Manisha Parekh bond over their shared preoccupation with the morphological. An exploration of shapes––biological, cartographic, and symbolic––is the dominant theme of the exhibition, which at first glance seems to be orchestrating a duet between very different materials.

Belonging to a long tradition of South Asian works that render the geographic through representation (Sudhir Patwardhan) and abstraction (Zarina Hashmi), Khan’s matte oils on linen feature multicolored mazes while her monochromatic screen prints show civic plans and dust-hazed cityscapes.

Eerie landscapes and shadowy figures populate Kartik Sood’s debut solo exhibition “In Search of a Dream and Other Stories,” summoning up the oneiric quality that the title promises. Throughout the show, mixed-media paintings portray human forms dwindling before enigmatic natural vistas and forbidding architecture, while videos appear as experiments in stillness and motion, bringing some of the canvases to life through digital manipulation.

There is a rather old-fashioned preoccupation with romantic imagery in works such as Encounter, Witness, and An Act (all works 2015), which feature distant